william p carl ❖ fine prints

Felix Bracquemond prints for sale

Brumes du Matin (Mists of the Morning)Etching, 1882, Beraldi 779 (undescribed state after xi/XI). 9 5/8 x 14 in. Signed in pencil, lower right. With the etched "B" in the lower left, just below the image. This is a fine, luminous impression printed on a thin, greyish Japanese paper. The margins are wide and probably full. The condition is excellent. This is from the edition of 100 printed by Keppel around 1900. A detailed explanation of the states for this print can be found online at C & J Goodfriend and their outstanding Bracquemond
exhibition "Ducking Impressions," archived from a couple years ago. SOLD

Le Vieux Coq (The Old Cock)Etching, 1882, Beraldi 222 (i/V), one of only about eight proofs of the first state, total edition unknown. 13 3/4 x 10 5/8 in. Signed in ink in the lower right. This is a superb impression printed on Japanese paper. The margins are wide and probably untrimmed. There's a faint suggestion of toning within an early mat opening and a thin, vertical line of old glue (?) along the left margin, well away from the image. This rare 1st state proof is from the collection of Seymour Haden (Lugt 3938) and his initials in pencil are seen in the lower right, just inside the platemark. This exceptional print is rarely encountered in early states and the provenance is impeccable. Only about twenty proofs exist of the first three states and an edition of 200 was printed in the 4th state by Dowdeswell, London. A legend was added in the upper left in the fifth state and the edition in unknown.SOLD

Sarcelles (Teals)Etching, 1853, Bouillon Ac2 (pg. 82) (iv/V), Beraldi 111; edition unknown. 10 5/8 x 12 7/8 in. Signed in the plate upper right. Signed in the plate lower left with the printed text. Here we have a fine impression in good condition. There's an occasional spot of foxing and a rust speck in the image on the left side, center. This impression was printed by Delâtre and published by Cadart & Luquet for the Société des Aquafortistes in June, 1864. Their watermark appears on the sheet as well as their blindstamp. The margins are wide.$750

Seagulls (Les Mouettes)Etching, 1882 (?), Beraldi 223 (iv/IV), total edition unknown. 11 5/8 x 18 3/8 in. Signed in pencil, lower right. Signed with the "B" stamped initial in the lower left. Here we have a fine impression of this large, impressive print. The margins are trimmed but sufficient. There's a faint suggestion of toning within an earlier mat opening. This is the final state of the work as printed in an edition of 100 impressions by Frederick Keppel. (Note: We have found various dates for this print listed from 1860 to 1895!) Provenance: Catherine Burns, 1984.$1,800

The Large Rabbit (Grand Lapin)Etching, 1891-94, IFF III 441; Not in Beraldi, edition unknown. 9 3/8 x 13 1/4 in. Signed and dated in the plate below, "Gravé par Bracquemond" and, Avril 1894." This is an especially fine, luminous impression printed on vellum. The margins are wide and probably full. The condition is very good apart from the typical soft rippling which comes with printing on vellum. The print is also called "Jeannot Lapin."$950

The Swallows (Les Hirondelles)Etching, 1882, Beraldi 225 (iii/III); edition 100. 13 x 10 7/8 in. Initialed in the plate lower left and signed in pencil lower right. This is a superb impression of this important work. The margins are full and the condition is excellent. The artist here combines his love of birds with his enthusiasm for all things Japanese. SOLD

The Thunder Cloud (La Nuée d'Orâge)Etching, 1878-1887, Beraldi 219 (vi or vii/XIII), edition unknown. 10 1/8 x 13 5/8 in. Signed in the plate, lower left. This is a superb, early impression printed on thin, cream colored laid paper. The margins are substantial and possibly full and untrimmed. The condition is fine apart from wrinkling in the lower margin below the platemark. A comparable impression is in the Rijksmuseum collection and is illustrated in the Van Gogh Museum catalogue on Bracquemond done in 1994. This publication was authored by Charlotte van Rappard-Boon. (See page 49). The influence of Rembrandt is clearly evident in this dramatic landscape.SOLD